Peter Dundas’s first outing as the man in charge at Roberto Cavalli at last September’s womenswear show did not go down well; “cheap looking” was the gut-shot blow delivered in the Vogue.com review. There was much mournful head shaking in Milan for days afterward. For the trifle that it’s worth, my take was that Dundas was trying to strip away the spectacular—but heavy and expensive—ornamentation that is so a part of the Cavalli lexicon and present a cleaner, more youthfully accessible version of the Florentine hell-raiser’s aesthetic. The theory made sense, but in practice it didn’t work.